Classical music composed by Robert Schumann Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the first of three Fantasiestucke (Fantasy Pieces) by Robert Schumann. This piece was originally written for clarinet and piano but I think it sounds good on the cello. Schumann often wrote sets of miniatures that each have their own mood. In this one there is some tension between triplets (three notes per beat) in the piano and duplets (two notes per beat) in melodies in both the cello and piano. This adds unrest to this emotional and romantic piece. We hope you enjoy it.

Prelude from Cello Suite No. 1 - J.S. BachImpromptu concert by Zuill Bailey at NPR Music's Washington, D.C., headquarters. Bailey doesn't play just any old cello. Yes, it is old - very old - but it's also special, built by the renowned Venetian maker Matteo Goffriller in 1693. That means Johann Sebastian Bach was all of 8 years old when Goffriller slapped on the final layer of shellac.

Cello Journey #27, Kol Nidrei (Part 1)Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org

Cello Journey #29, Thais Meditation (Version 2)Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com I thought I would put up two versions of the same episode. It is difficult to pick one sometimes. There may be a different feeling in each. Let me know what you think. In this episode we play the Meditation from the Opera Thais by Jules Massenet. The Thais comes from an interlude towards the end of the opera. It is usually played on the violin. It is marked Andante Religioso and there is a reflective mood throughout. This piece is special to me because, over the years, my mother has played it in church on the violin. I wanted to do a good job with it. We hope you enjoy it.

Cello Journey #27, Kol Nidrei (Part 2)Cello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Kol Nidrei by Max Bruch. This piece is based on a Jewish prayer recited in the synagogue at the beginning of the evening service on Yom Kippur, the Day of Atonement. You can find out more information at the following link: en.wikipedia.org

Cello Journey #26, Faure SicilienneCello Journey CD: cdbaby.com Cello Journey DVD: cdbaby.com Visit the website: cellojourney.com In this episode we play the Sicilienne by the French composer Gabriel Faure. I recently went on a trip to Quebec and had a chance to eat some great French meals. As a result, I did a bit of French cooking myself. I noticed that the common theme in this type of cooking is how ingredients tend to fit well together. A sauce will fit everything else that is on the plate. Flavors and textures go in and out of each other to create a greater whole. This piece is similar in that its melodies fade in and out of each other. Harmonies, colors and textures blend well together and undergo subtle changes. I hope you can sense that in the music.

Seven Year Old Plays Schumann She is 7 years old. It is our dream that I get people in the world to listen to a performance of a daughter. santafe.way-nifty.com/piano/

Robert Schumann Fantasiestucke Op. 12 In Der Nachtwww.wnukowski.com. Daniel Wnukowski, piano. 19th Century Paintings... John Turner - The Parting of Hero and Leander Aivazovsky - The Wrath of the Seas Johann Dahl - Peace at Sunset Johann Dahl - Dresden in Moonlight Eugene Delacroix - Champrosay Landscape Caspar David Friedrich - Seashore by Moonlight Peter Paul Rubens - Hero and Leander Jean AD Ingres - Ruggiero Rescuing Angelica Eugene Delacroix - The Death of Ophelia Eugene Delacroix - Christ on the Lake of Gennezaret Johann Dahl - Eruption of Vesuvius Robert Schumann's piano music was directly influenced by the prevailing artwork, literature and poetry of the day. The best way to learn piano music of the 19th century, and the best piano teacher is to study these masterpieces alongside regular piano practice. Many of the paintings above were painted after Schumann's Fantasy pieces were actually written (1837) but can still serve as a direct inspiration to understanding his work. "In Der Nacht" by Schumann is the 5th piece of the Fantasiestücke cycle and tells the passionate story of Hero and Leander. Although admittedly Schumann discovered this literary connection after having written the work. Enjoy this recording!

Schumanns Fantasiestücke - Aufschwung by George Li (13 yr)George Li, age 13, performs Mendelssohn's "Spinning Song," Beethoven's Piano Sonata No. 14, the "Moonlight," and Liszt's "La Campanella," video recorded in a live performance at WGBH in October 2008 Streams.wgbh.org George has successfully performed 4 concerts with Boston Phil in October, all received instantaneous stormy standing ovation. The last two concerts were sold out. Music reviews are enclosed below: www.telegram.com www.telegram.com classical-scene.com Chinese: www.sinovision.net www.telegram.com George was recently interviewed and performed live on WGBH (NPR). He performed Mendelssohn's Spinning Song, Beethoven's Moonlight Sonata and Liszt's La Companella at his best level. You can listen at this link: streams.wgbh.org -------------------------------------- George Li performs Schumanns Fantasiestuke - Aufschwung

Robert Schumann Fantasiestucke Op. 12 Fabelwww.wnukowski.com. Daniel Wnukowski, pianist. 19th Century Paintings... Joseph Anton Koch - Arc of the Covenant Edward Veith - Fountain of Youth Ludwig Adrian Richter - Evening Worship Ricardo Falero - Muse of the Night Eugene Delacroix - Frightened Horse Johann Heinrich Füssli - The Nightmare Tidemand and Gude - Brudeferd i Hardanger Ludwig Adrian Richter - St. Anne Church Andreas Achenbach - Watermill in Westphalia Robert Schumann's piano music was directly influenced by the prevailing artwork, literature and poetry of the day. The best way to learn piano music of the 19th century, and the best piano teacher is to study these masterpieces alongside regular piano practice. Many of the paintings above were painted after Schumann's Fantasy pieces were actually written (1837) but can still serve as a direct inspiration to understanding his work. "Fable" by Schumann is 6th piece of the Fantasiestücke cycle and vacillates between the playful, whimsical nature of Florestan and the heavenly, calm nature of Eusebius. Enjoy this recording!

Chopin - Polonaise in A, Op.40 No.1, ' Military 'Title : Frederic Chopin ,Polonaise in A, Op.40 No.1, 'Military' From Wikipedia, The Polonaise in A-flat major, Op. 53 or (French: Polonaise héroïque, Heroic Polonaise) was written by Frédéric Chopin in 1842 for solo piano. This masterpiece is one of Chopin's most popular compositions and is still a current favorite of the classical pianoforte repertoire. The piece requires exceptional pianistic skills and requires virtuosity in order to be played at an appropriate level of quality. Although the piece is labeled as a polonaise, it has little to do with the typical polonaise style. It presents two sections with a polonaise rhythm, but most of it has no particular polonaise attribute. It has been said that Chopin had composed the piece having a free and powerful Poland in mind, which may have led him to label it as a Polonaise.[citation needed] Another possibility is that the Heroic Polonaise is closely related to the Polonaise in A major, Op.40, No. 1, known as the Military Polonaise. The introduction section of the Heroic is obviously inspired by the Military, which, unlike the Heroic, was a true polonaise. The tempo of the piece is Alla polacca e maestoso ("like a polonaise and majestic"). The form is ternary (ABA), with a 30-second introduction. The piece has a grand introduction with fast ascending chromatic notes in both hands, setting the mood of the piece. It shows the heroic side of Chopin's art.The first theme is a dance-like theme and is in the tonic key of A-flat <b>...</b>

Erik Satie - Gymnopédie No.1Alfred Eric Leslie Satie (Honfleur, 17 May 1866 -- Paris, 1 July 1925) was a French composer and pianist. Starting with his first composition in 1884, he signed his name as Erik Satie. Satie was introduced as a "gymnopedist" in 1887, shortly before writing his most famous compositions, the Gymnopédies. Later, he also referred to himself as a "phonometrograph" or "phonometrician" (meaning "someone who measures (and writes down) sounds") preferring this designation to that of "musician," after having been called "a clumsy but subtle technician" in a book on contemporary French composers published in 1911. In addition to his body of music, Satie also left a remarkable set of writings, having contributed work for a range of publications, from the dadaist 391 to the American Vanity Fair. Although in later life he prided himself on always publishing his work under his own name, in the late nineteenth century he appears to have used pseudonyms such as Virginie Lebeau and François de Paule in some of his published writings. Satie was a colourful figure in the early 20th century Parisian avant-garde. He was a precursor to later artistic movements such as minimalism, repetitive music and the Theatre of the Absurd. The Gymnopédies, published in Paris starting in 1888, are three piano compositions written by French composer and pianist, Erik Satie. These short, atmospheric pieces are written in 3/4 time, with each sharing a common theme and structure. Collectively, the Gymnopedies <b>...</b>

Rubinstein - Brahms, Piano Concerto No.1 - I Maestoso (1/3)Director : Bernard Haitink. Concertgebouworkest Amsterdam. Johannes Brahms's Piano Concerto No. 1 in D minor (Op. 15) is one of Brahms' most famous and frequently performed pieces. A concerto on nearly every major pianist's repertoire, it presents considerable technical challenges to the performer. Brahms worked on the composition for some years, as was the case with many of his works. After a prolonged gestation period, it was first performed on January 22, 1859, in Hanover, Germany, when Brahms was just 25 years old. Five days later, at Leipzig, an unenthusiastic audience hissed at the concerto, while critics savaged it, labelling it "perfectly unorthodox, banal and horrid". In a letter to his close personal friend, the renowned violinist Joseph Joachim, Brahms stated, "I am only experimenting and feeling my way", adding sadly, "all the same, the hissing was rather too much!" Brahms originally conceived the work as a sonata for two pianos. Seeking a grander and fuller sound, Brahms later orchestrated the work in an attempt to transform it into a four-movement symphony. However, he also found that unsatisfactory. Brahms ultimately decided that he had not sufficiently mastered the nuances of orchestral color to sustain a symphony, and instead relied on his skills as a pianist and composer for the piano to complete the work as a concerto. Brahms only retained the original material from the work's first movement; the remaining movements were discarded and two new ones were <b>...</b>